Wasteland (1987) #9

For lack of a better word, this issue is dippy. It’s not particularly bad–nowhere near Wasteland‘s worst–but it’s definitely dippy.

As usual, the fault tends to lie with the writers. The first story is a Close autobiographical, again scripted by Ostrander. In it, Close goes to L. Ron Hubbard for therapy. The beautiful David Lloyd art–until a way too long fencing match–makes it palatable. It’s lame.

The second story (Ostrander writing solo) is about a guy in the ghetto challenging God to a street fight; it seems a tad racist. I’m sure it’s not, but it’s not in that guilty white liberal “not racist” way. The Simpson art, however, is an absolute joy.

The final story, another one starring Close (co-scripting with Ostrander), is another flop. Messner-Loebs, usually great on art, fumbles here. Without good art, it’s inane filler.

Just like the issue itself.

Wasteland 9 (August 1988)

For lack of a better word, this issue is dippy. It’s not particularly bad–nowhere near Wasteland‘s worst–but it’s definitely dippy.

The final story, another one starring Close (co-scripting with Ostrander), is another flop. Messner-Loebs, usually great on art, fumbles here. Without good art, it’s inane filler.

Just like the issue itself.

CREDITS

Del & Elron; writer, John Ostrander; artist and colorist, David Lloyd; letterer, Dunina Rush. Raoul; writer, Ostrander; artist and letterer, Don Simpson; colorist, Lovern Kindzierski. Subtext Salad; writers, Del Close and Ostrander; artist and letterer, William Messner-Loebs; colorist, Kindzierski. Editor, Mike Gold; publisher, DC Comics.

Wasteland 8 (July 1988)

This issue ends on a relative high point, which sort of disguises its otherwise stinky nature.

The first story, from Ostrander and Tom Artis, is about a husband suggesting to his wife he’s a serial killer. It’s mostly dialogue and Ostrander’s dialogue isn’t particularly special. Worse, Artis’s art is awful. The guy’s clearly not ready for Little League, much less DC.

The second story, with Messner-Loebs art, is a little better. Ostrander and Close have a bunch of references to classic detective stories–and Chinatown–and the concept’s mildly amusing. A synopsis might be a better read however. The art makes the story worthwhile.

The final story is more autobiography from Close (scripted by Ostrander). Simpson’s art’s never outstanding, but the story of an actor getting stoned on pain killers before working on the Blob sequel is funny. Ostrander does a much better job here pacing his scenes too.

CREDITS

Heebee Geebeeies; writer, John Ostrander; penciller, Tom Artis; inker, Tim Dzon; letterer, John Costanza. The Dead Detective; writers, Ostrander and Del Close; artist and letterer, William Messner-Loebs. The Eye, Like Some Strange Balloon; writers, Close and Ostrander; artist and letterer, Don Simpson. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 7 (June 1988)

This issue’s a little indistinct. It opens with the conclusion to the theater company having trouble in the South story. It’s all wrap-up and exposition, which doesn’t make for the most interesting story. Freeman’s artwork is fine but not memorable at all. Ostrander inexplicably concentrates on the nostalgic elements.

The second story, with art from Lloyd–with shouldn’t be doing psychedelic art under any circumstances–is about a guy who trips to go save the world from DNA. There’s a setup for it and all, but it’s really loose work from Ostrander and Close.

I suppose the final story–Ostrander and Close again together, Simpson on art–has the most personality. It’s a genially cold hearted bit about a former circus worker who agrees the pet sit a giraffe. Simpson’s art is perfect for it, but the script confuses funny with mean-spirited.

The issue’s middling, but not bad.

CREDITS

On the Road part 2 or How We Changed the Price of Whiskey at the Butterfly Mine #2 in West Virginia; writer, John Ostrander; artist, George Freeman; colorist, Lovern Kindzierski; letterer, Ron Muns. Secret Lords of the DNA!; writers, Del Close and Ostrander; artist and colorist, David Lloyd; letterer, Steve Craddock. The St. Louis Electric Giraffe Caper!; writers, Close and Ostrander; artist and letterer, Don Simpson; colorist, Kindzierski. Editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 6 (May 1988)

Thankfully sans politics again, this Wasteland is pretty good.

The first story, with Ostrander and Close scripting and Lloyd on art, is a tragic comedy. It follows a brawny actor with a dental condition as he tries to find respect for his craft. The Lloyd art is just fantastic, making up for the tepid finish.

The second story, with Messner-Loebs art, is a “real life” riff on Captain Marvel. It’s genially amusing–with great art–until the finish. Ostrander and Close go for a discreet, implied ending, but never lay the foundation for it. Just because it’s cute doesn’t mean it gets a pass.

The final story is an autobiographical one from Close, but scripted only by Ostrander (with Freeman art). It’s an okay ghost story. It feels a lot like sixties Marvel horror–compelling situation and tone but not a lot of bite.

All together, a fine issue.

CREDITS

Method Actor; writers, Del Close and John Ostrander; artist and colorist, David Lloyd; letterer, Steve Craddock. Paper Hero; writers, Ostrander and Close; artist and letterer, William Messner-Loebs; colorist, Tom Ziuko. On the Road part 1 or How We Changed the Price of Whiskey at the Butterfly Mine #2 in West Virginia; writer, Ostrander; artist, George Freeman; colorist, Lovern Kindzierski; letterer, Ron Muns. Editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 5 (April 1988)

Ugh, another political story. This time it’s about U.S. imperialism leading to nuclear armageddon. Ostrander and Close are boring about, no real characters just vague anti-Reagan ramblings. Maybe if Simpson did a better job on the art. He lacks enthusiasm.

The second story, more of Close’s autobiographical work, is better. The setup doesn’t work and the ending is messy, but it’s definitely better. Though Messner-Loebs’s art is a little too hurried. There’s no rhythm between the art and the story; Close and Ostrander don’t write enough for the artist on it.

The third story’s phenomenal, however. Lloyd’s on the art. The story’s about Close and Ostrander brainstorming. It’s a funny recursive loop on their creative process with good cameos. The Lloyd art makes it a further joy, especially when the writers become stand-ins for DC’s Cain and Abel.

The issue’s a mixed bag, but ends strong.

CREDITS

This Time We Win!; writers, John Ostrander and Del Close; artist and letterer, Don Simpson. Under the Lash; writers, Close and Ostrander; artist and letterer, William Messner-Loebs. Big Crossover Issue; writers, Ostrander and Close; artist, David Lloyd; letterer, Steve Craddock. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 4 (March 1988)

I’m not sure I’ve ever read a comic as self-important as this issue of Wasteland. I’m not making that statement lightly; it’s just hard to imagine anything more pretentious.

For example, Ostrander’s first story–set against a Shakespeare sonnet–is about how the only rational response to Ronald Reagan’s presidency is to kill oneself. Or your loved ones. Freeman’s art isn’t bad, but it’s achingly pretentious.

At least the second story, with Messner-Loebs art, isn’t political. Close joins Ostrander for the story of a paranoid woman who’s right to be afraid. It doesn’t make much impression, maybe because it’s so forced and obvious. Nice art though.

Simpson does a sloppy job on the art for the final story. The story–again, Close and Ostrander–is about celebrities escaping justice. It’s bad and unfunny. It’s also dumb. The dumb hurts it the most.

Close and Ostrander go overboard here.

CREDITS

Sonnet LXVI; writer, John Ostrander; artist, George Freeman; letterer, Ron Muns. A Safe Place; writers, Ostrander and Del Close; artist and letterer, William Messner-Loebs. Celebrity Rights; writers, Ostrander and Close; artist and letterer, Don Simpson. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 3 (February 1988)

This issue’s a major disappointment. Okay, maybe not major, but definitely a disappointment. There’s not a single good story in it.

The first story is Close and Ostrander riffing a little on Harvey Pekor with “American Squalor.” The Simpson art is good, the visual presentation of the anecdote is okay… it’s just not a particularly good anecdote. It’s easily the best story in the issue.

The second story–Ostrander writing, Lloyd on art–looks fine. World-weary cop navigates the Hellish urban metropolis while questioning faith. It’s predictable and unoriginal. Ostrander never comes up with a single good, fresh moment. Never even approaches one.

He and Close reteam for the final story. It’s a first person serial killer one. Very risqué, if one’s trying to do a cologne ad yuppie as a serial killer. Freeman’s art is highly stylized, but technically competent.

The issue’s a waste of time and talent.

CREDITS

American Squalor; writers, Del Close and John Carpenter; artist and letterer, Don Simpson. Dies Illa; writers, Ostrander and Close; artist, David Lloyd; letterer, Steve Craddock. Lotus Blossom; writers, Ostrander and Close; artist, George Freeman; letterer, Ron Muns. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 2 (January 1988)

Once again, the Messner-Loebs illustrated story is the best in Wasteland. But this time it’s on the somewhat autobiographical Close story. Teenage runaway Close works backstage in a horror show circus; things go dangerously wrong. Close’s dialogue’s fantastic, very smooth transitions, lots of humor. Messner-Loebs excels at the variety too.

The second story, with George Freeman art, and Ostrander and Close collaborating on the script, is the issue’s least. It’s still good and funny–Shirley MacLaine inhabits Genghis Khan for a song–but there’s nothing to it. It has a great setup and punchline, but it’s not special.

The final story, with both writers (and Lloyd on art), has an excellent muted payoff. The story’s standout is Lloyd and his visual pacing of a child welfare interview. It’s a strange case, but Lloyd’s meticulous, precise panels would make it compelling even if it weren’t.

Wasteland continues to impress.

CREDITS

That’s Entertainment; writers, Del Close and John Ostrander; artist and letterer, William Messner-Loebs. Ghengis Sings!; writers, Ostrander and Close; artist, George Freeman; letterer, Ron Muns. Warning Signals; writers, Close and Ostrander; artist, David Lloyd; letterer, Steve Craddock. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 1 (December 1987)

The strangest thing about Wasteland is how the story about tripping is the least trippy story of the three in this issue.

The trippy story is the last one, an ostensibly autobiographic one written by Del Close, recounting a trip through the Chicago sewers. Don Simpson does the art and the art’s great and the writing’s amusing, but it’s cute and the rest of the issue isn’t.

The first story, by John Ostrander and David Lloyd on art, is about a lethal hallucinogen. The art’s disturbing enough to cover some of Ostrander’s weaker “cop” dialogue moments. It’s a decent enough start and not at all upbeat.

The middle story, with Ostrander and Close co-writing, is the stunner. William Messner-Loebs does the art and, even though it’s “real,” it’s rather trippy stuff. It’s an absurdist future story with some really thought-provoking, disturbing “comic” moments. It’s the issue’s best.

CREDITS

Foo Goo; writer, John Ostrander; co-plotter, Del Close; artist, David Lloyd. R.ab.; writers, Ostrander and Close; artist and letterer, William Messner-Loebs. Sewer Rat; writers, Close and Ostrander; artist, Don Simpson. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.